Sacred Heart Chapel Research Report

Name of Building: Sacred Heart Chapel
Address: Lot 25, Jalan Tengkera, 75000 Melaka, Malaysia.
This report is submitted for the subject ARC 1215 / ARC 60305
Methods of Documentation and Measured Drawings to the School
of Architecture, Building and Design of Taylor’s University to obtain 5
credits for Practicum 1.
It is a group effort by:
Leader:
Seow Koji Takehira 0320816
Group Member:
Andy Heng Wee Xiang 0327152
Harwinder Singh Girn A/L Manjeet Singh 0319881
Heng Sy Hua 0321999
Ho Zi Yan 0323698
Hyunh Minh Nhat Dinh 0313309
Jack Chung Da Jie 0323948
Joey Lau Xin Jun 0323965
Noor Syahirah Binti Abdul Aziz 0326109
Nur Diyana Athirah Binti Abdul Khalid 0326114
Rhianna Mae Storey 0325369
Saw E Sean 0322003
Siti Nur Fatahiah Binti Md Ezamudin 0320595
Tan Yincy 0318355
Teoh Jun Xiang 0322099
Thareen Nujjoo 0324886
Bachelor of Science (Honours) Architecture
January 2017
Taylor’s University
Supervised by:
Dr. Camelia May Li Kusumo
DECLARATION I
II

Our team, Team Sacred Heart Chapel, would like to extend our
heartfelt gratitude to those who provided us valuable information and
knowledge which contributed to the completion of this report.
We would like to take this opportunity to express our deepest
appreciation to our tutor, Dr. Camelia May Li Kusumo, for providing
guidance to our team throughout the course of the assignment and
also for sharing her valuable insights which benefited the outcome of
this report.
Moreover, we would like to thank Architect Hau Woon San, the owner
of Idea Workshop, as well as Ms. Jovina Ann Lee, an Idea Workshop
employee, for providing us the required documents and materials to
complete our report.
Lastly, the completion of this report would not have been possible
without the kind support of Mr Keith Tan, a Taylor’s University lecturer,
Mr Colin Goh, Mr Vincent Kang as well as other interviewees who were
willing to spend time to attend the interview sessions conducted by our
team. The kind support and patience displayed by these individuals
proved crucial for the completion of this report.
ACKNOWLEDGEMENT II

This research report documents the overall information and data
obtained from the Measured Drawing activity conducted by our group,
Team Sacred Heart Chapel, on the Sacred Heart Chapel located at Lot
25, Jalan Tengkera, 75000 Melaka, Malaysia from the 20th to the 24th
of January 2017. The Sacred Heart Chapel is a heritage building
located along Jalan Tengkera, which was also known as Tranquerah
Road during the colonial era. The name of the road was derived from
the term “Tranquerah”, which meant a defence wall which was
constructed by the Portuguese to protect the Tranquerah suburb from
invaders. The Portuguese colonization contributed to the emergence of
the Portuguese-Eurasians in the suburb as well as the spread of
Roman Catholicism among the local community. It wasn’t until the
British colonial era that a plot of land was leased to the local
Portuguese-Eurasians to construct a religious building along Jalan
Tengkera. Thus, the Sacred Heart Chapel completed its construction in
1877, serving its function for 100 years till the 1970s. Since then, the
chapel was abandoned as the lease of the land expired in the 1970s.
Although the chapel is a historically significant building, formal actions
were not taken by relevant authorities to conserve and preserve it. As
such, this project is important as it allowed us to understand the
importance of documenting the assigned building in the form of
drawings, documentation video and a research report.
ABSTRACT III

This subject aims to develop an understanding of the principles of
building preservation and the methods of recording it through
documentation methods. As such, students were required to document
the historical, architectural and cultural significance of their respective
buildings in the form of as-built drawings. Numerous aspects of the
selected building were carefully observed, analysed and recorded in
the form of a research report, a photo book as well as a documentary
video.
Our team, Team Sacred Heart Chapel, conducted a site visit to
Malacca (Malay: Melaka) from the 20th to the 24th of January 2017 to
conduct on-site measuring activities in the Sacred Heart Chapel, which
is located at Lot 25, Jalan Tengkera, 75000 Melaka, Malaysia. Tasks
were divided among the group members fairly to increase the
productivity and effectiveness of the team.
INTRODUCTION TO RESEARCH IV

Chapter 3 : History and Site Context
3.1 Historical Background
3.1.1 History of Sacred Heart Chapel 35-39
3.1.2 History of Sacred Heart of Jesus 40
3.2 Site Context
3.2.1 Location and Topography 41-42
3.2.2 Location within Malacca World Heritage Site 43-46
Declarations I
Acknowledgement II
Abstract III
Introduction to research IV
Table of Content V-VIII
List of Figures IX-XIII
List of Diagrams XIV-XV
Chapter 1 : Introduction
1.1 Aim and Objectives
1.1.1 Aim 2
1.1.2 Objectives 2
1.2 Task and Methodologies
1.2.1 Measuring and Drawing Process 3-6
1.2.2 Report and Literature 7-9
1.2.3 Videography and Photography Process 10-11
1.2.4 Model Making Process 12
1.3 Task Distribution 13-14
1.4 Limitations 15-16
1.5 Significance of Research 17
Chapter 2 : Historical Background of Malacca and Tranquerah
2.1 History, Geography and Economy of Malacca
2.1.1 Brief History of Malacca 19
2.1.2 Geography of Malacca 20
2.1.3 Economy 21
2.1.4 Effects of Geographical and Economic
Importance of Malacca
22-25
2.2 History, Significance and Development of Tranquerah
2.2.1 Origins of The Name “Tengkera” 26
2.2.2 Function 26-28
2.2.3 Development of Tranquerah Suburb 28-32
2.3 Conclusion 33
TABLE OF CONTENTS V

Buffer Zone
3.2.3 Relationship of Building to Surrounding 47-51
Chapter 4 : Architectural Styles and Concepts
4.1 Design Idea
4.1.1 Roman Catholicism 53-56
4.1.2 Personal Expression and Identification 57-58
4.1.3 Form 59-60
4.2 Spatial Analysis
4.2.1 Organization of Spaces 61-67
4.2.2 Spatial Hierarchy 68-70
4.2.3 Circulation to Use Space 71-72
4.3 Design Principle
4.3.1 Balance and Symmetry 73
4.3.2 Repetition 74
4.3.3 Unity and Harmony 75
4.4 Design Styles and Elements
4.4.1 Overview and Explanation 76-77
4.4.2 Iberian Style 78-80
4.4.3 Gothic Style 81-84
4.4.4 Romanesque Style 85
4.4.5 Other Elements 86-89
4.5 Orientation and Response to Climate
4.5.1 Orientation 90-91
4.5.2 Response to Climate 92-93
Chapter 5 : Construction Details and Materials
5.1 Terracotta Floor Tiles
5.1.1 Definition and Characteristics 95
5.1.2 Materials 95-98
5.1.3 Advantages and Disadvantages 99
5.1.4 Existing Condition 100
5.2 Load Bearing Walls
5.2.1 Definition and Characteristics 101
5.2.2 Materials (Dutch Bricks) 102
5.2.3 Bonding System 103
5.3 Semicircular Arches 105-106
5.4 Doors
TABLE OF CONTENTS VI

5.4.1 Battened, ledged and framed timber door 108
5.4.2 Framed Doors 109
5.5 Louvered Casement Windows 110
5.6 Timber Choir Loft and Staircase
5.6.1 Timber Choir Loft 112
5.6.2 Timber Staircase 113
5.7 Timber King Post Roof Truss System
5.7.1 Description 115
5.7.2 Components 115
5.7.3 Connection and Joints 116
5.7.4 Roof Tiles 117
5.8 Wall Anchor
5.8.1 Definition and Materials 119
5.8.2 Components 120
5.9 Altar & Pulpit
5.9.1 Altar 121
5.9.2 Pulpit 121
Chapter 6 : Cultural Attributes
6.1 Surrounding Community 124-125
6.2 Conditions of Chapel when It was in Use
6.2.1 Exterior 126-127
6.2.2 Interior 128-129
6.3 Activities 130-131
Chapter 7 : Comparison with Saint Peter’s Church
7.1 Introduction to Saint Peter’s Church 133
7.2 Architectural Style 134
7.3 Comparison 135
TABLE OF CONTENTS VII

Chapter 8 : Future Development 137-141
Conclusion 142
References 143-148
Glossary 149-151
Appendix
Scaled Drawings
TABLE OF CONTENTS VIII

Figure 1.1: Measuring tape used for measuring a crack on site.
(Source: Ho, 2017)
Figure1.2: Laser measure used for measuring. (Source: Lau, 2017)
Figure 1.3: A4-sized clipboard used on site. (Source: Shutterstock,
2017)
Figure 1:4 Camera and tripod were used to record and photograph the
building (Source: Heng, 2017)
Figure 1.5: Drafting tools were used to record the measuremet
(Source: Pinterest, 2017)
Figure 1.6: A4-sized paper used for sketching. (Source: Ho, 2017)
Figure 1.7: Ladder was used to measure certain elements at
unreachable heights. (Source: Seow, 2017)
Figure 1.8: Production of technical drawings using AutoCAD. (Source:
Teoh, 2017)
Figure 1.9: Interview sessions conducted with Ar. Hau and Mr. Colin
Goh. (Source: Seow, 2017)
Figure 1.10: Discussion between group members and the tutor, Dr.
Camelia. (Source: Khalid, 2017)
Figure 1.11: The photography and videography team on site. (Source:
Seow, 2017)
Figure 1.12: Individual pieces of model produced on balsa wood.
(Source: Aziz, 2017)
Figure 1.13: Process of model-making. (Source: Aziz, 2017)
Figure 1.14: Partially completed physical model. (Source: Khalid, 2017)
Figure 1.15: The defects surrounding the pulpit (Source: Khalid, 2017)
Figure 1.16: The defects surrounding the stairs (Source: Aziz, 2017)
Figure 1.17: The defects on the wall (Source: Ho, 2017)
Figure 1.18: Roofless building and rainy weather conditions (Source:
Ezamudin, 2017)
Figure 2.1: Portrait of Parameswara. (Source: Yoganathan, 2015)
Figure 2.2: Scene of the white mouse-deer kicking Parameswara’s
hunting dogs. (Source: Lim, 2016)
Figure 2.3: Malacca as a lowland area. (Source: Google, n.d.)
Figure 2.4: International trade conducted at the port of Malacca.
(Source: Google, n.d)
Figure 2.5: Spices. (Source: Emaze, 2017)
Figure 2.6: Malacca linking the trade routes of the East and West..
(Source: Saw, 2017)
Figure 2.7: Portrait of Alfonso de Albuquerque. (Source: Alamy Stock,
2017)
Figure 2.8: The Portuguese conquest of Malacca. (Source:
Asienreisender, 2017)
Figure 2.9: St. Francis Xavier. (Source: St. Xavier’s School, 2017)
Figure 2.10: Portuguese-Eurasians. (Source: C. Pfeiffer, 2017)
Figure 2.11: Dutch-era shophouses in Heeren Street, Malacca.
(Source: heritage architecture: shophouses, 2017)
Figure 2.12: Dutch bricks. (Source: Pixabay, 2017)
Figure 2.13: General concept of an ancient wooden palisade. (Sauber,
2012)
Figure 2.14: Present day Tranquerah Road. (Source: Teoh, 2017)
Figure 2.15: Map of Malacca during Dutch era. (1780) (Source:
Colonial Voyage and Marco Ramerini, 2017)
Figure 2.16: The map shows the area of reclamation land (Source:
H.C.Lim and F.Jorge, 2006)
Figure 3.1: Exterior façade of the Sacred Heart Chapel (Source:
H.C.Lim and F.Jorge, 2006)
Figure 3.2: Exterior view of the Sacred Heart Chapel. (Source: Heng,
2017)
Figure 3.3: Interior perspective view of Sacred Heart Chapel. (Source:
Heng, 2017)
LIST OF FIGURES IX

Figure 3.4: Interior perspective view of Sacred Heart Chapel. (Source:
Heng, 2017)
Figure 3.5: Existing condition of chapel’s interior wall. (Source: Heng,
2017)
Figure 3.6: Exposed brickwork of facade. (Source: Teoh, 2017)
Figure 3.7: Exposed timber roof trusses above sanctuary (Source:
Teoh, 2017)
Figure 3.8: Jesus and His Sacred Heart. (Source: Battle Heads, 2015)
Figure 3.9: Shophouses located on both sides of Jalan Tengkera.
(Source: Teoh, 2017)
Figure 3.10: Parking lots situated in front of the chapel. (Source: Teoh,
2017)
Figure 3.11: Panoramic view of shophouses around the Sacred Heart
Chapel. (Source: Kusumo, 2017)
Figure 4.1: The holy water fonts situated in front of the Tuscan
columns. (Source: Heng, 2017)
Figure 4.2: The confession area as indicated by the highlighted area.
(Singh, 2017)
Figure 4.3: The timber choir loft as seen from above. (Seow, 2017)
Figure 4.4: The pulpit in the chapel. (Source: Seow, 2017)
Figure 4.5: The altar of the Sacred Heart Chapel. (Source: Seow,
2017)
Figure 4.6: The narthex which is located under the choir loft is
indicated by the highlighted area. (Source: Teoh, 2017)
Figure 4.7: The donation box slot as seen on one of the Tuscan
columns. (Source: Seow, 2017)
Figure 4.8: The nave is indicated by the highlighted area. (Source:
Singh, 2017)
Figure 4.9: The nave as seen from the sanctuary. (Source: Heng,
2017)
Figure 4.10: Windows at the side of the nave. (Source: Heng, 2017)
Figure 4.11: Light penetrating a window located at the side of the nave.
Figure 4.12: The sanctuary is indicated by the highlighted area.
(Source: Saw, 2017)
Figure 4.13: The large scale of the semi-circular-arched opening allows
the sanctuary to be the point of focus no matter where one stands.
(Source: Saw, 2017)
Figure 4.14: The sacristy is indicated by the highlighted area. (Source:
Saw, 2017)
Figure 4.15: The side walkway of the Sacred Heart Chapel. (Source:
Heng, 2017)
Figure 4.16: The floor plan for mostly Early Christian Church (Source:
Wikipedia, n.d.)
Figure 4.17: Door beside altar as seen from sacristy (Source: Seow,
2017)
Figure 4.18: Side door (Source: Heng, 2017)
Figure 4.19: Door at the back of the sacristy (Seow, 2017)
Figure 4.20: Front door (Source: Heng, 2017)
Figure 4.21: Similar properties of stained glass pieces (Source: Teoh,
2017)
Figure 4.22: Similar shapes of doors and windows of the front façade
(Source: Singh, 2017)
Figure 4.23: Pointed arch louvered casement windows at the front
facade of the chapel. (Source: Teoh, 2017)
Figure 4.24: The stained glass pieces above a window in the Sacred
Heart Chapel (Source: Teoh, 2017)
Figure 4.25: The variety of stained glass patterns that can be found in
the chapel (Source: Singh, 2017)
LIST OF FIGURES X

Figure 4.26: Original pinnacles on the left of the chapel’s pediment
Figure 4.27: Restored pediment on the right of the chapel’s pediment
Figure 4.28: The semi-circular arch of the front gate in the Sacred
Heart Chapel (Source: Seow, 2017)
Figure 4.29: The semi-circular arch door of the front façade in the
Sacred Heart Chapel (Source: Teoh, 2017)
Figure 4.30: The Romanesque-arched facade as seen from the
sanctuary. (Source: Seow, 2017)
Figure 4.31: The timber choir loft as seen from the sanctuary. (Source:
Singh, 2017)
Figure 4.32: Side view of the pulpit. (Source: Teoh, 2017)
Figure 4.33: Front view of the chapel’s altar. (Source: Teoh, 2017)
Figure 4.34: The IHS or JHS monogram on the altar’s mensa.
(Source:Teoh, 2017)
Figure 4.35: Stairs at the side of the altar. (Teoh, 2017)
Figure 4.36: Semicircular arched opening at the side of the altar.
(Source: Teoh, 2017)Figure 5.1: Terracotta tiles in Sacred heart
Chapel (Source: Singh, 2017)
Figure 5.2: Close-up look of the terracotta Tiles in the building.
(Source: Seow, 2017)
Figure 5.3: Terracotta floor tiles in the chapel. (Source: Singh, 2017)
Figure 5.4: Sunken terracotta floor tiles around the pulpit. (Source:
Storey, 2017)
Figure 5.5: Missing terracotta floor tiles at the nave. (Source: Storey,
2017)
Figure 5.6: Load bearing walls as seen from the interior of the chapel.
Figure 5.7: Clay (Source: Micheal, n.d.)
Figure 5.8: Shale (Source: Collecting rocks and minerals, n.d.)
Figure 5.9: Dutch bond System. (Source: Greenhalgh, 1926)
Figure 5.10: Exposed Dutch bricks in the Sacred Heart Chapel.
Figure 5.11: Exposed Dutch bricks due to the fallen off plaster.
Figure 5.12: Visible cracks on the load bearing wall. (Source: Teoh,
2017)
Figure 5.13: The semicircular arched opening as seen from the altar.
Figure 5.14: Crack present above semi-circular arched opening at the
façade before the sanctuary (Source: Heng, 2017)
Figure 5.15: Exposed brickwork of semi-circular-arched door at the
front of the chapel. (Source: Teoh, 2017)
Figure 5.16: Cracks present near the semi-circular-arched door at the
back of the sacristy. (Source: Seow, 2017
Figure 5.17: Battened, ledged and framed door at the front of the
chapel. (Source: Heng, 2017)
Figure 5.18: L-shaped bolt latch of the chapel’s front door. (Source:
Heng, 2017)
Figure 5.19: T-shaped door hinge (Source: Heng, 2017)
Figure 5.20: Framed door in Sacred Heart Chapel (Source: Heng,
2017)
Figure 5.21: Butt hinge of the chapel’s side door (Source: Heng, 2017)
Figure 5.22: The louvered window in Sacred Heart Chapel (Source:
Seow, 2017)
Figure 5.23: The butt hinge of a window in the Sacred Heart Chapel.
Figure 5.24: L-shaped bolt latch of the chapel’s window (Source: Seow,
2017)
LIST OF FIGURES XI

Figure 5.25: Light grey pattern around a window in the chapel. (Source:
Teoh, 2017)
Figure 5.26: Missing louvres of the sacristy’s timber window as seen
from the exterior of the chapel. (Source: Teoh, 2017)
Figure 5.27: Broken stained glass pieces of a window. (Source: Teoh,
2017)
Figure 5.28: Timber choir loft at Sacred Heart Chapel (Source: Seow,
2017)
Figure 5.29: The front elevation of the stairs in Sacred Heart Chapel
Figure 5.30: The elevation side of the stairs in Sacred Heart Chapel
Figure 5.31: Missing timber floor joist of the choir loft exposes the hole
made on the wall. (Source: Teoh, 2017)
Figure 5.32: Missing timber plank as seen from the back of the
staircase. (Source: Singh, 2017)
Figure 5.33: Small pieces of paint coatings left on the staircase treads.
Figure 5.34: Timber king post roof truss system of the chapel. (Source:
Teoh, 2017)
Figure 5.35: Round-headed iron bolts. (Source: blacksmithbolt, n.d.)
Figure 5.36: U-shaped clay roof tiles found in No. 8, Heeren Street
(Source: Christopher, 2014)
Figure 5.37: Broken timber rafter suspended on top of the sacristy.
Figure 5.38: The smaller-sized timber purlins used on the timber roof
trusses amongst other larger-sized purlins. (Source: Heng, 2017)
Figure 5.39: Existing condition of the chapel’s wall anchor. (Source:
Singh, 2017)
Figure 5.40: The altar of the Sacred Heart Chapel. (Source: Heng,
2017)
Figure 5.41: Terracotta tiles at the altar. (Source: Ezamudin, 2017)
Figure 5.42: The pulpit of the Sacred Heart Chapel. (Source: Heng,
2017)
Figure 5.43: Timber template.used to construct curved brick structures.
(Source: The Brick and Brickwork, n.d.)
Figure 5.44: The pulpit which is slightly detached from the wall of the
chapel. (Source: Ezamudin, 2017)
Figure 5.45: Candle waxes present at the edge of the altar. (Source:
Teoh, 2017)
Figure 5.46: Missing floor tiles at the altar’s platform. (Source: Lau,
2017)
Figure 6.1: The chapel’s front gate (Source: Seow, 2017)
Figure 6.2: The belfry of the chapel. (Source: Singh, 2017)
Figure 6.3: The Donation Box Place (Source: Aziz, 2017)
Figure 7.1: Front façade of St Peter’s church
Figure 7.2: Front façade of Sacred Heart Chapel
Figure 7.3: Front façade of St Peter’s Church (Source: K.sini, 2017)
Figure 7.4: Interior of the church (Source: Wikimedia Commons, 2017)
Figure 8.1: Cover page of the conservation report prepared by Idea
Workshop. (Source: Idea Workshop, 2017)
Figure 8.2: Page 4 of the conservation report prepared by Idea
Workshop. (Source: Idea Workshop, 2017)
Figure 8.3: Page 7 of the conservation report that shows the historical
research prepared by Idea Workshop. (Source: Idea Workshop, 2017)
Figure 8.4: Page 15 of the conservation report that shows the
dilapidated state prepared by Idea Workshop. (Source: Idea Workshop,
2017)
LIST OF FIGURES XII

Figure 8.5: Page 16 of the conservation report that shows the
dilapidated state prepared by Idea Workshop. (Source: Idea Workshop,
2017)
Figure 8.6: Land grant of Sacred Heart Chapel 1 (Source: Idea
Workshop, 2017)
Workshop, 2017)
Workshop, 2017)
LIST OF FIGURES XIII

Diagram 2.1: Interpretation of the location of the Tranquerah suburb
based on Eredia’s Map of Malacca. (Saw, 2017)
Diagram 2.2: Interpretation of the location of Tranquerah based on the
map of Malacca produced by Mao Kun during the early 15 century.
(Source: Saw, 2017)
Diagram 2.3: Interpretation of Portuguese suburbs based on Eredia’s
Map of Malacca(Source: Saw, 2017)
Diagram 2.4: Intermarriage of Portuguese men and local women.
(Saw, 2017)
Diagram 2.5: Map of Malacca during Dutch era (1780) (Source:
Colonial Voyage and Marco Ramerini , 2017)
Diagram 2.6: Interpretation of the location of Tranquerah Road during
the British era (Source: Saw, 2017)
Diagram 4.1: Essential Roman Catholic elements and spaces provided
within the chapel. (Saw, 2017)
Diagram 4.2: The combination of the forms that shape the chapel’s
outlook (Source: Saw, 2017)
Diagram4.3: The plan of the chapel was influenced by the rectangular
plot of land on which it was constructed. (Source: Saw, 2017)
Diagram 4.4: The transformation of the chapel from a 2-dimension plan
into a 3-dimensional form. (Source: Huynh Minh, 2017)
Diagram 4.5: The organization of spaces in a linear sequence (Source:
Saw, 2017)
Diagram 4.6: Spatial hierarchy of the Sacred Heart Chapel. (Source:
Saw, 2017)
Diagram 4.7: The circulation of users in the chapel. (Source: Saw
2017)
Diagram 4.8: Symmetry shown by the front elevation of the chapel.
(Source: Saw, 2017)
Diagram 4.9: Symmetry shown by the back elevation of the chapel.
(Source: Saw, 2017)
Diagram 4.10: Symmetry of the chapel’s floor plan (Source: Saw,
2017)
Diagram 4.11: Symmetry of the facade before the sanctuary as shown
by the section. (Source: Saw, 2017)
Diagram 4.12: Repetition of elements is present on the 3 highlighted
components of the chapel. (Source: Saw, 2017)
Diagram 4.13: Repetition of elements is shown by the highlighted
areas. (Source: Saw, 2017)
Diagram 4.14: The front facade of the Sacred Heart Chapel. (Source:
Measured Drawing Team Sacred Heart Chapel, 2017)
Diagram 4.15: The front facade of the Basilica of Bom Jesus.
(Source: Divakaran, 2005)
Diagram 4.16: The front façade of the Ruins of Saint Paul’s Church
(Source: Macao Arts Festival, 2011)
Diagram 4.17: Orientation of chapel which faces Jalan Tengkera.
(Source: Huynh Minh, 2017)
Diagram 4.18: Circulation of flow into the chapel. (Source: Huynh Minh,
2017)
Diagram 4.19: Ventilation flow into the chapel. (Source: Huynh Minh,
2017)
Diagram 4.20: Sun path and ventilation on site. (Source: Saw, 2017)
Diagram 4.21: Sun path across the chapel. (Source: Huynh Minh,
2017)
Diagram 4.22: Penetration of sunlight from the left of the chapel in the
morning. (Source: Huynh Dinh, 2017)
Diagram 4.23: Penetration of sunlight from the right of the chapel in the
evening. (Source: Huynh Dinh, 2017)
LIST OF DIAGRAMS XIV

Diagram 5.1: Existing condition of terracotta floor tiles (Source: Huynh
Minh, 2017)
Diagram 5.2: Existing condition of building as seen from the chapel’s
section (Source: Huynh Minh, 2017)
Diagram 5.3: The dimensions of the terracotta floor tiles used in the
chapel. (Source: Huynh Minh, 2017)
Diagram 5.4: The distribution of materials in the chapel. (Source: Saw,
2017)
Diagram 5.5: Load bearing walls indicated by highlighted area.
Diagram 5.6: Dimensions and texture of a Dutch brick found on site.
Diagram 5.7: Components of a semi-circular arch (Source: Saw, 2017)
Diagram 5.8: Components of a centering structure (Source:
Pinterest,n.d.)
Diagram 5.9: Components of the chapel’s framed door. (Source: Saw,
2017)
Diagram 5.10: Butt hinge of the chapel’s framed door. (Source: Huynh
Minh, 2017)
Diagram 5.11: Components of the timber choir loft in the chapel.
Diagram 5.12: Components of the timber staircase in the chapel.
Diagram 5.13: Components of the timber king post roof truss system.
Diagram 5.14: Timber crossed half lapped joint. (Source: Huynh Minh,
2017)
Diagram 5.15: The use of the wall anchor in building construction.
(Source: History of the Dutch in Malaysia, 2007)
Diagram 8.1: Page 24 of the conservation report that shows the
measured drawing of side elevation prepared by Idea Workshop.
(Source: Idea Workshop, 2017)
LIST OF DIAGRAMS XV

1.1.1 AIM
The aim of this project is to help students to develop an understanding
of the process of building preservation and the methods of recording it
using various documentation methods. It also allows student to explore
various measuring techniques and to discover the unique architectural
elements and context of the heritage buildings in Malaysia.
1.1.2 OBJECTIVES
The objective of this project is to document the significance of the
selected heritage building and to produce accurate measured drawings
for future uses. Besides that, the project intends to enable students to
analyse the relationship between architecture and the significance of
the building as well as its inhabitants.
1.1 AIM & OBJECTIVES 2

1.2.1 MEASURING AND DRAWING PROCESS
a) Before site visit
Before the start of the site visit to the Sacred Heart Chapel in Malacca,
we studied a few measuring techniques in order to familiarise
ourselves with on-site measuring techniques. Measuring equipment
and materials were carefully analysed and prepared in order to obtain
the most accurate measurements of the building.
The selected equipment are as follows:
Metal measuring tape:
A standard measuring tape is a rigid, retractable and lockable
measuring tool. It is especially useful for measuring room interiors.
1.2 TASK & METHODOLOGY 3
Figure 1.1: Measuring tape used for measuring a crack on site.
(Source: Ho, 2017)

Laser measure:
Laser measures were provided by the module lecturers for each and
every group prior to the respective site visits. It is a simple yet accurate
measuring tool to measure the height and length of the exterior and
interior of the building.
Clipboard:
A4-sized clipboards were prepared by each and every group member
to allow them to secure their sketching and drafting papers when
measuring on site.
Cameras and tripod:
DSLR and digital cameras were prepared to take photographs on site
to be used as references during CAD-ing sessions. Tripods were also
prepared to secure the DSLR cameras at perfect positions to take
photographs and videos.
Figure1.2: Laser measure used
for measuring. (Source: Lau,
2017)
Figure 1.4: Camera secured on tripod was used to record and
photograph the building (Source: Heng, 2017)
Figure 1.3: A4-sized clipboard
used on site. (Source:
Shutterstock, 2017)

Drafting tools:
Drafting tools such as pencils and erasers were prepared by each and
every group member to allow them to record measurements made on
site in the form of sketches and annotations.
Papers:
A4-sized blank papers were prepared to allow members to record their
measurements and findings on site.
Figure 1.6: A4-sized paper used for sketching. (Source:
Ho, 2017)
Figure 1.5: Drafting tools such as eraser and pencil
were used to record measurements. (Source: Pinterest,
2017)

b) During site visit
During the site visit, we applied all the techniques we have learned to
measure our assigned building. All members were assigned to
measure certain parts of the building, which are the interior, exterior as
well as the details. Our group members also took related photographs
of the parts of the building measured by them to act as useful
references in the future. Metal rulers with 30cm length were also
placed beside the measured elements when the photographs were
taken to act as scaling references during the drawing sessions. A
ladder, which was provided by Idea Workshop, was also used to reach
and measure certain elements located at unreachable heights.
c) After site visit
After the completion of the site visit, our group members compared and
standardized the recorded measurements together and to translate
them into proper technical drawings. To complete this task, we used
digital drawing software called Autodesk AutoCAD to produce accurate
and systematic drawings. A modelling software named 3ds Max was
also used to produce 3-dimensional models of the original conditions of
the chapel to be used in the report and documentary video.
Figure 1.7: A ladder was used to measure certain elements
at unreachable heights. (Source: Seow, 2017)
Figure 1.8: Production of technical drawings using AutoCAD.

1.2.2 REPORT AND LITERATURE RESEARCH
Before the site visit to Malacca was conducted, group members were
assigned to research on the related information of the building. As
there was limited information about our building both online and offline,
alternative methods were discussed and executed to obtain the
relevant information of the building.
Besides literature books regarding church typologies, our group
members sought after articles, journals and other literature sources
which encompass a broader range of information that may benefit the
outcome of the research. Interviews were also conducted with a
Taylor’s University lecturer, Mr. Keith Tan, to have a better
understanding of the chapel and its context before the site visit was
conducted. An interview was also arranged with Architect Hau, the
owner of Idea Workshop, who is currently conducting restoration works
on the Sacred Heart Chapel. The interview questionnaires were
prepared and printed before the site visit. (Appendix 4)
1

During our site visit in Malacca, our group members conducted an
interview with Architect Hau to familiarise ourselves with the
conservation and restoration processes of the chapel. With the kind
help of Architect Hau, we arranged another interview with Mr Colin
Goh, who wrote an article regarding the building back in 2011. (Goh,
personal communication, 22nd January 2017) As Mr. Colin once spent
his childhood days in the chapel, his answers helped us to understand
the conditions of the chapel when it was in use. Several other
interviews were also conducted with the business owners along Jalan
Tengkera. All interview answers were recorded in the form of written
notes, videos and audio recordings to be used as future references.
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Figure 1.9: Interview sessions conducted with Ar. Hau and Mr.
Colin Goh. (Source: Seow, 2017)

c) After site visit
After returning from the site visit, we gathered and organised all the
information obtained from the interviews to be inserted into the report.
A report guideline was then written to list out all the topics which were
to be covered by respective members of the report team. After the
members submitted their respective works in the group’s Google Drive,
they then proceeded with the compilation of the report. Design and
modelling softwares such as Photoshop CC and 3ds Max were used to
compile the report, to produce related diagrams as well as to produce
the photobook for the final submission.
Figure 1.10: Discussion between group members and the tutor,
Dr. Camelia. (Source: Khalid, 2017)

1.2.3. VIDEOGRAPHY AND PHOTOGRAPHY PROCESS
Before the site visit to Malacca was conducted, group members under
the videography team held several meetings to discuss about the
outcome of the video. Thorough research was conducted to decide
which information should be included in the video and the script, which
contains the main ideas and information of the video, was generated.
Videos produced by students from previous batches were also used as
references to decide the style and outcome of the video.
During the site visit, the videography team and photography team
explored the building to plan the best angle, timing and lighting to take
photographs and videos of the interior and exterior of the building. This
was done to ensure that the essence evoked by the sense of place can
be precisely documented. All photos and videos taken on site were
reviewed later at night to ensure that all aspects of the building were
well documented.
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Figure 1.11: The photography and videography team on site.

c) After site visit
After the visit, the video clips taken on site were reviewed to select the
best footage for the documentary video. Audio recordings were also
made to include narrations in the video. In addition to that, photos
taken were carefully selected and edited using Photoshop CC to
produce the photobook.
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1.2.4 MODEL MAKING PROCESS
i. Balsa wood with different pieces and sizes were purchased.
ii. Completed CAD drawings converted into specific files to be used for
laser cutting.
iii. Balsa wood were engraved and cut using laser cutting machine in
Taylor’s University engineering workshop.
iv. Individual pieces were organized according to their categories and
glued into components.
v. Components were combined and glued to create the physical model.
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Figure 1.14: Partially completed physical model. (Source: Khalid,
2017)
Figure 1.12: Individual pieces of model produced on balsa wood.
(Source: Aziz, 2017)
Figure 1.13: Process of model-making. (Source: Aziz, 2017)

TEAM VIDEO REPORT PHOTOBOOK PHYSICAL
MODEL
MEASURED
DRAWINGS
Leader Saw E Sean Teoh Jun Xiang Harwinder Singh Tan Yincy Andy Heng
Koji Seow
Members involved Teoh Jun
Xiang
Hyunh Minh
Nhat Dinh
Ho Zi Yan
Saw E Sean
Hyunh Minh Nhat
Dinh
Diyana
Syahirah
Harwinder Singh
Amelisa Heng
Teoh Jun Xiang Joey Lau
Koji Seow
Siti
Amelisa Heng
Harwinder Singh
Rhianna
Thareen
Siti
Jack Chung
Joey Lau
Teoh Jun Xiang
Ho Zi Yan
Saw E Sean
Hyunh Minh Nhat
Dinh
Diyana
Syahirah
Harwinder Singh
Amelisa Heng
1.3 TASK DISTRIBUTION 13
1

DRAWINGS MEASURED BY DRAWN BY
FLOOR PLAN KOJI, RHIANNA KOJI, RHIANNA
NORTH
ELEVATION
DINH, HARWINDER DINH,
HARWINDER
SOUTH
ELEVATION
ZI YAN, AMELISA ZI YAN,
DIYANA,
AMELISA
EAST ELEVATION DIYANA, SYAHIRAH DIYANA,
SYAHIRAH
WEST ELEVATION ANDY, JACK, THAREEN ANDY, JACK
LONGITUDINAL
SECTIONS
ANDY, JACK, TEOH,
SEAN
ANDY, JACK,
TEOH, SEAN
TRANSVERSE
SECTION
DINH, KOJI, SYAHIRAH,
DIYANA
DINH, KOJI,
SYAHIRAH,
DIYANA
DRAWINGS MEASURED BY DRAWN BY
WINDOWS THAREEN, YINCY THAREEN,
YINCY
DOORS SYAHIRAH, ANDY, JACK SYAHIRAH,
THAREEN
CONSTRUCTION
DETAILS
RHIANNA, HARWINDER,
TEOH
JACK, JOEY,
HARWINDER,
TEOH
ROOF TRUSSES ZI YAN ANDY, KOJI
STAIRCASE JACK, ANDY JACK, SEAN
MEZZANINE
FLOOR PLAN
HARWINDER, JACK ANDY, KOJI
ALTAR & PULPIT JOEY, SITI, AMELISA, JOEY, SITI
12
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1.3 TASK DISTRIBUTION 14
1

Many challenges were faced throughout the process of completing the
project. Firstly, as the Sacred Heart Chapel was abandoned for
decades, there were no maintenance works conducted on the building.
As such, its conditions worsened over the years, and numerous
defects can be seen both on the exterior and the interior in the building.
These defects included walls with fallen off plaster pieces, cracks on
the walls and other structures, fading colours of paint finishings, broken
door and window pieces, broken stained glass pieces and a broken
choir loft. (Figure 1.15, 1.16 and 1.17) These defects posed some
difficulties with the works conducted on site as our group had to
document and measure each and every defect accurately to produce
as-built drawings of the building.
Moreover, as the timber choir loft had missing floor panels, our group
members could not stand on top of the structure to measure it as it was
too dangerous to do so. As such, to place ourselves on top of the choir
loft, we had to position our legs on two separate floor joists with great
caution.
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1.4 LIMITATIONS 15
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Figure 1.15: The defects
around the pulpit. (Source:
Khalid, 2017)
Figure 1.16: The defects
around the narthex. (Source:
Aziz, 2017)
Figure 1.17: The defects on the chapel’s back wall. (Source: Ho,
2017)

In addition to that, the building is roofless as it was undergoing
restoration works which will be completed in one year’s time. As such,
conditions on site were constantly affected by natural weather
conditions such as the direct heat and blinding light rays of the sun,
which caused great discomfort when measurements were taken. On
top of that, rainy weather conditions on the last three days of the site
visit also deterred us from conducting on-site measuring activities,
which eventually delayed the progress of our work.
Lastly, there was minimal information on our building available online
and in literature works. Although the building is more than a century
years old, little documentation of its history and architectural
significance has been made by various parties, causing many setbacks
to the progress of the report’s completion. As such, our group
members had to seek for historical literature works which focuses on a
broader range of topics to obtain as much information as possible.
Multiple interviews were also conducted with local residents of Malacca
who reside or work near our building in hopes of gathering the
necessary information of the building.
1.4 LIMITATION 16
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Figure 1.18: Raining and roofless conditions on site. (Source:
Ezamudin, 2017)

This report will be a significant endeavour in promoting one of the
heritage buildings of Malacca by relating its architectural style to the
historical and cultural significance of its time. Moreover, the completion
of this project will definitely enhance the students’ appreciation towards
the historical and cultural values of the heritage building.
The Sacred Heart Chapel is indeed a historically significant building
which relates to the history of its context and the culture of its previous
occupants. As such, the documentation of the building in the form of
measured drawings and a detailed research report will not only benefit
our group members, but also other parties who seek to understand the
building in a much deeper manner. As minimal efforts have been made
by relevant authorities to document the building, the outcome of this
project will unveil the architectural, historical and cultural significance of
the building for the first time.
1.5 SIGNIFICANCE OF RESEARCH 17
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2.1.1 BRIEF HISTORY OF MALACCA
Before Malacca (Malay: Melaka) was founded, it was a fishing village
occupied by some local Malays as well as Orang Laut. (National
Library Board Singapore, 2017) Its establishment began with the story
of a Palembang prince known as Parameswara in the 14th century.
(Figure 2.1) While Parameswara was escaping from the Javanese
enemy, he first settled down in Temasik (present day Singapore) and
established himself as king. Unfortunately, he was driven away from
Temasik due to the invasion of the Siamese troops. Parameswara,
together with his followers, escaped to Muar and then stopped near the
mouth of a river called Bertam for a hunt. It was during the hunt that
Parameswara witnessed a white mouse-deer kicking one of his hunting
dogs. (Figure 2.2) Impressed by the bravery of the mouse-deer, he
decided to build a new city on the location. He then named the city
‘Melaka’, which was derived from the name of the Melaka tree he was
resting at.
2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA 19
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Figure 2.1: Portrait of Parameswara.
(Source: Yoganathan, 2015)
Figure 2.2: Scene of the white mouse-deer kicking
Parameswara’s hunting dogs. (Source: Lim, 2016)

2.1.2 GEOGRAPHY OF MALACCA
Malacca is a Malaysian state located at the Western region of the
Malaysian peninsular, next to the Strait of Malacca. The state is
bordered to the north and the west by the state of Negeri Sembilan as
well as to the south by Johor.
There were various reasons as to why Parameswara decided to
establish his new settlement at Malacca. Firstly, Malacca was situated
at the side of the Strait of Malacca, one of the busiest and most
important strait in the world. This meant that the strategic location by
the side of the sea made it a suitable location for maritime trade to take
place.
Moreover, Malacca is generally a lowland area with an average
elevation which is lower than 50 meters above sea level, as shown by
Figure 2.3. The flat and wide condition of the land is suitable for the
development of a settlement as the community could access the place
easily with minimal effort. As the Strait of Malacca joins the Indian and
Pacific Oceans, it linked the trade route from China to India and the
Near East. As such, Malacca was perfectly positioned as a centre for
maritime trade. (Figure 2.4)
2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA
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Figure 2.3: Malacca as a lowland area. (Source: Google, n.d.)
Figure 2.4: International trade conducted at the port of
Malacca. (Source: Google, n.d)

2.1.3 ECONOMY
The strategic geographical location of Malacca allowed it to emerge
from a humble fishing village to become a major center of the spice
trade. The city grew rapidly, and within fifty years it had become a
wealthy and powerful hub of international commerce, with a population
of over 50,000. Being an international port, Malacca attracted
numerous ships each year to trade goods and valuable items.
The trade of valuable goods and items such as silk, gold and spices
allowed local and international traders and merchants to make
considerable amount of profits, contributing to the wealth of the local
society and government.
Besides acting as a port city that conducts regional trade, Malacca also
attracted Western traders, such as European seafarers, to visit the port
located at the mouth of the Malacca River, allowing it to be dubbed as
the “Venice of the East”. Eventually, Malacca had turned from a
maritime port into an entrepot.
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Figure 2.6: Malacca linking the trade routes of the East and West.
(Source: Saw, 2017)
Figure 2.5: Spices. (Source: Emaze, 2017)

2.1.4 EFFECTS OF THE GEOGRAPHICAL AND
ECONOMIC IMPORTANCE OF MALACCA
a) Portuguese colonization
According to Norazlina, Ravi and Lee (2012), the Portuguese were the
first colonial power to set sail to the East in the 15th century. In 24
August 1511, the Portuguese, under the command of Alfonso de
Albuquerque (Figure 2.7), conquered Malacca after a series of attacks.
(Figure 2.8)
During the time of the Portuguese occupation, 3 suburbs were
developed outside of the fortified city centre of Malacca. Costanca
(2015) stated that one of the three suburbs were Upe (Upih), which
was generally known as Tranquerah (modern day Tengkera). The
other two suburbs were Yler (Hilir) or Tanjonpacer (Tanjung Pasir) and
the suburb of Sabba.
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Figure 2.7: Portrait of Alfonso de
Albuquerque. (Source: Alamy Stock, 2017)
Figure 2.8: The Portuguese conquest of Malacca. (Source:
Asienreisender, 2017)

Of the three suburbs, Tranquerah was the most important. The suburb
was the main residential quarters of Malacca city and one of the types
of people residing in the suburb were the Kristang community. (Figure
2.10) The Kristang, also known as Portuguese-Eurasians, are an
ethnic group of mixed Portuguese and Malay decent which started to
emerge in Malacca as a result of intermarriages between Portuguese
men (sailors, soldiers, traders, etc.) and local native women.
According to Koepping (2008), the spread of Roman Catholicism
started in Malaya during the Portuguese occupation as well, when the
first Catholic priests landed in Malacca as military chaplains to the
Portuguese. In the mid-16th century, St. Francis Xavier, a Jesuit
missionary, preached in Malacca in 1545, 1546, and 1549. (Figure 2.9)
His preaching of the gospel in Malacca helped spread the Roman
Catholic faith among the local and Portuguese-Eurasian community.
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Figure 2.10: Portuguese-Eurasians. (Source: C. Pfeiffer, 2017)
Figure 2.9: St. Francis Xavier.
(Source: St. Xavier’s School, 2017)

b) Dutch colonization
In 1641, the Dutch captured Malacca from the Portuguese after a five
month long siege. Colonial Voyage (2017) stated that the Dutch
protected Malacca from invasions for more than a century. As a result,
most of the buildings in Malacca were reconstructed and new buildings
were built. The city structure during the Dutch colonization was more
organized and the road network was clearer than before. The
construction of buildings, such as shophouses and townhouses, were
based on the road system at that time. (Figure 2.11)
According to De Witt (2007), the Dutch introduced Dutch building
materials into the urban landscape of Malacca, such as Dutch clay roof
tiles, terracotta floor tiles and most of all, Dutch bricks. The introduction
of Dutch bricks allowed many brick masonry buildings to be
constructed. (Figure 2.12) The use of Dutch bricks can also be seen in
the Sacred Heart Chapel, although the building was built in a
completely different period of time. This indicated that the construction
knowledge of the Dutch had been passed on and implemented into the
construction of British era buildings.
2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA
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Figure 2.11: Dutch-era shophouses in Heeren Street, Malacca.
(Source: heritage architecture: shophouses, 2017)
Figure 2.12: Dutch bricks. (Source: Pixabay, 2017)

c) British colonization
In 1824, the Anglo-Dutch Treaty was signed between the Dutch and
the British. As a result, Malacca was ceded to the British. UK Essays
(2017) indicates that the British administration did not place a lot
attention on the development of Malacca as their main focus was on
Singapore.
Majlis Perbandaran Melaka Bandaraya Bersejarah (n.d) states that
during the British administration, Malacca Town was divided into two
parts, namely the European Town and the Native Town. The Native
Town, which was located at the west bank of the Malacca River was
home to the Portuguese-Eurasians, Chinese, Malays, Indians and
many more.
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2.2.1 ORIGINS OF THE NAME ‘TENGKERA’
As the Sacred Heart Chapel is located at Jalan Tengkera, it is
important to understand the history and significance of the term
“Tengkera”. Tranquerah is a term originated from the Portuguese word
“Tranqueira”, which means palisade or rampart. Time passes, but the
word “Tranqueira” still remains in use till today. However, people
usually pronounce it as Tranquerah or Tengkera (in Malay).
2.2.2 FUNCTION
a)Tranquerah gate and wall
At the early stage, the name Tranquerah was used to refer to the
shielding fence built by the Portuguese in the first half of the 16th
century at the northwest direction of the Malacca River. It was a
wooden fence positioned along a line which covered the area at the
northeast direction of the River of Malacca to protect it from invaders
(Figure 2.13).
2.2 HISTORY, SIGNIFICANCE & DEVELOPMENT OF TRANQUERAH 26
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Figure 2.13: General concept of an ancient wooden palisade.
(Source: Sauber, 2012)
Diagram 2.1: Interpretation of the location of the Tranquerah
suburb based on Eredia’s Map of Malacca. (Source: Saw, 2017)

As shown by the interpretation of the location of the Tranquerah suburb
based on Eredia’s Map of Malacca, the Tranquerah was extended to
the point where the Porta da Tranquerah (Tranquerah gate) is located.
According to Lim and Jorge (2006), the location of the gate is roughly
located at the northern end of the present day Heeren Street.
Based on the statements made by the Dutch Commissioner Joost
Schouten in 1641, the wooden palisade was destroyed to expand the
Tranquerah suburb due to the increase in population. The palisade
was later replaced with stone.
b) Tranquerah Suburb
Since the purpose of the Tranquerah is to protect the Upeh suburb, the
fence became the boundary of the suburb. Manuel de Eredia, who
produced the Map of Malacca in the 1600s, remarked that Upeh
suburb was sometimes called Tranquerah suburb as it is the area in
which the Tranquerah covers.
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2.2 HISTORY, SIGNIFICANCE & DEVELOPMENT OF TRANQUERAH

c) Tranquerah Road
By observing the Dutch map prepared in 1780, it is evident that a road
which extends from the Tranquerah gate to the north is present.
(Figure 2.15) This road was then addressed as Tranquerah Road, or
present day Jalan Tengkera. During the British era, the Tranquerah
gate was demolished and the Tranquerah Road became important for
the city’s expansion to establish schools and colleges (Lim and Jorge
2006). The Tranquerah Road was since used till today and functions
as a residential and commercial area. (Figure: 2.4)
2.2.3 DEVELOPMENT OF TRANQUERAH SUBURB
a) Sultanate of Malacca
During the Sultanate of Malacca, development was only focused on the
south bank of the River of Malacca. According to De Witt (2017), the
area at the north of the river, which includes the Tranquerah suburb,
was later developed to cope with the increase in population and to act
as a trading port. (Diagram 2.2)
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Figure 2.4: Present day Jalan Tengkera. (Source: Teoh, 2017)
Diagram 2.2: Interpretation of the location of Tranquerah based on
the map of Malacca produced by Mao Kun during the early 15 th
century. (Source: Saw, 2017)

b) Portuguese Era (1511- 1641)
In 1511, the Portuguese successfully captured Malacca. Three
suburbs, namely Tranquerah, Sabba and Yler were arranged by the
Portuguese to house the local community. (Diagram 2.3) Among these
three suburbs, Tranquerah is the most important urban residential
area. The name of the suburb was derived from the Tranquerah, and it
was during that time as well that the Portuguese conquerors
encouraged their people to marry the local women in the Tranquerah
suburb. The purpose of this act is to establish a mixed community to
increase the population within the suburb (Source: Tan, personal
communication, 19th January 2017). Thus, the intermarriage between
the Portuguese men and local women formed a Portuguese-Eurasian
community within the suburb. (Diagram 2.4)
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Diagram 2.3: Interpretation of Portuguese suburbs based on
Eredia’s Map of Malacca. (Saw, 2017)
Figure: Portuguese suburbs based on Eredia’s Map of Malacca
(Saw, 2017)
Diagram 2.4: Intermarriage of Portuguese men and local
women. (Saw, 2017)

c) Dutch Era (1641- 1826)
During the Dutch era, the urban structures in the Tranquerah suburb
were arranged in a more organized manner. (Figure 2.15) A road
which extends from the Tranquerah Gate to the north was established.
This road was named as Tranquerah Road (present day Jalan
Tengkera) and it was connected with Heeren Street (present day Jalan
Tun Tan Cheng Lock) (Diagram 2.5) Due to its strategic location next
to the sea, residential areas started to develop around Tranquerah
Road and the surrounding population increased. The Portuguese-
Eurasians were also one of the groups of people who moved and
settled along the road. As the Portuguese-Eurasians were known for
their fishing culture, the location of the Tranquerah Road beside the
sea may have attracted them to settle there. Lim and Jorge (2006)
suggests that the Tranquerah Road was later developed into a key
trunk route, connecting Malacca's town centre on the south of the River
of Malacca with the suburbs, clubs and resorts along the northern
coast.
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Figure 2.15: Map of Malacca during Dutch era. (1780) (Source:
Colonial Voyage and Marco Ramerini, 2017)
Diagram 2.5: Interpretation of the location of Tranquerah Road.
(Source: Saw, 2017)

d) British Era (1824-1957)
At 1824, Malacca was ceded to the British by the Dutch. As the British
focused their attention on the development of Singapore at that time,
minimal changes were made on the urban structure of the Tranquerah
suburb. The British demolished the Tranquerah Gate and wall and
since then, the concept of the Tranquerah suburb ceased to exist.
Although the concept of the suburb no longer exists, the Tranquerah
Road still remains in use. According to Lim and Jorge (2006), the
British saw the potential of the Tranquerah Road and established
schools and colleges along it at that time. (Diagram 2.6) As such, the
road played an important role in the city’s expansion.
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Diagram 2.6: Interpretation of the location of Tranquerah Road
during the British era (Source: Saw, 2017)
Figure: Map of Malacca during British era (Source: Idea
workshop, 2017)

e) Present day (1957- present)
After the independence of Malaysia, Malacca was finally free from the
control of European forces and was later developed rapidly. The rapid
growth of Malacca’s economy resulted in the scarcity of land in the
state. As such, the state government decided to reclaim land along the
seaside of the Strait of Malacca. (MPMBB,n.d). The reclamation works
conducted robbed the sea view from the pristine shorelines of
Tranquerah Road. (Figure 2.16)
At the same time, many residents around the area moved out in search
of better living and working conditions elsewhere. (Kang, personal
communication, 23rd January 2017). Since then, the population around
the area decreased, which also included the Portuguese-Eurasian
community.
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Figure 2.16: Interpretation of the reclaimed land near the Strait of
Malacca. (Source: Saw, 2017)

Tranquerah was once a defence wall constructed by the Portuguese to
protect the community of the Tranquerah suburb from invaders. The
community consisted of the Portuguese-Eurasians, who emerged as a
result of intermarriages between the Portuguese men and local
women. The colonization of the Portuguese not only gave birth to the
Tranquerah suburb and the Portuguese-Eurasian community, but it
also signified the spread of the Roman Catholic faith among the locals.
It wasn’t until the Dutch colonial period that a road was established
outside the Tranquerah Gate, linking Heeren Street with the newly
developed residential area outside of the defence wall. The street,
which was later named Tranquerah Road, allowed the Portuguese-
Eurasians to settle along it. When the British extended their power into
Malacca, the Sacred Heart Chapel was built along Tranquerah Road
(present day Jalan Tengkera) to serve the Catholic Portuguese-
Eurasian community. As such, by tracing the origins of Tranquerah, it
is evident that the construction of the chapel is very much linked to the
historical significance of the area.
2.3 CONCLUSION 33
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3.1.1 HISTORY OF SACRED HEART CHAPEL
The Sacred Heart Chapel is a Roman Catholic chapel located at Lot
25, Jalan Tengkera, 75200 Melaka, Malaysia. The building’s existence
is mainly due to its connection to the history of Jalan Tengkera, which
was also known as Tranquerah Road back in the colonial era.
As mentioned in Chapter 2, Jalan Tengkera is located in a suburb
called Tranquerah which existed since the occupation of the
Portuguese. The suburb was built to serve as the main residential
quarters of Malacca city, and, over the years, the suburb underwent a
lot of changes during the Dutch and British colonization, especially in
terms of the realignment of streets and alleyways. (Goh, personal
communication, 22nd January 2017).
3.1 HISTORICAL BACKGROUND 35
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Figure 3.1: Exterior facade of the Sacred Heart Chapel. (Source:
Heng, 2017)
Figure 3.2: Exterior view of the Sacred Heart Chapel. (Source:
Heng, 2017)

Moreover, Constanca (2015) stated that the Portuguese-Eurasians in
Malacca, which was also known as the Kristang community, resided in
the Tranquerah suburb as a result of intermarriages between
Portuguese men and local native women. The Portuguese were also
credited for spreading Roman Catholicism in Malacca when the first
Catholic priests landed in Malacca as military chaplains to the
Portuguese. The teaching of the Gospels by Catholic priests allowed
the local and Portuguese-Eurasian community to adopt the Roman
Catholic faith.
It was during the British era that this area began to be cleared and a
designated road with houses on the side was built. Middle-class people
and other local communities, began to reside along the road known as
Jalan Tengkera. (Goh, personal communication, 22nd January 2017)
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Figure 3.3: Interior perspective view of Sacred Heart Chapel.
(Source: Heng, 2017)
Figure 3.4: Interior perspective view of Sacred Heart Chapel.

In the 1860s, the British granted a lease of 99 years for a plot of land
on Jalan Tengkera for a religious building to be built. Thus, the Sacred
Heart Chapel’s construction started in the year of 1875 or 1876, and,
its construction was completed in 1877 to serve the large Catholic
Eurasian community residing along the main road of Jalan Tengkera
as well as in Tranquerah Pantai One and Two, Captain Lane and Dato
Manilla Lane. The decision to build a Catholic chapel along the road
was not only to serve the local community, but also to reduce the
hassle of the community to travel long distances to Saint Peter’s
Church Malacca, Malaysia’s first functioning Roman Catholic Church.
The chapel was first administered by Saint Peter’s Church, which was
under the jurisdiction of the Bishop of Macau. Since then, the building
played a significant role to represent the identity of the Portuguese-
Eurasian community and their faith in the Sacred Heart of Jesus. The
Sacred Heart Chapel initially functioned as a religious center for the
Portuguese-Eurasians, and later it served Roman Catholics of other
races for a period of 100 years.
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Figure 3.5: Existing condition of the chapel’s interior wall. (Source: Heng,
2017)

It wasn’t until the 1970s, when the lease expired and the Sacred Heart
Chapel was forced to be returned to state ownership. According to Goh
(2017), the chapel applied for an extension, however, the state
government refused to grant them a renewal of the lease despite the
appeals that were made to extend it. By that time as well, the local
community started to decrease as they moved elsewhere for better job
opportunities. This caused the chapel to be abandoned and its
conditions deteriorated till this day. Since the abandonment of the
chapel, its roof has collapsed and the interior of the building is but an
empty musky shell. Although the chapel’s roof was replaced later,
nothing much has been done to preserve and conserve the building.
Goh (2017) suggests that the Melaka Heritage Trust once proposed to
convert the building into a research center, however, there were no
further developments based on this proposal.
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Figure 3.6: Exposed brickwork of facade. (Source: Teoh, 2017)
Figure 3.7: Exposed timber roof trusses above sanctuary.

The land of the Sacred Heart Chapel was purchased and owned by
Beauty Garden Homes Sdn. Bhd. in 2014, and, since then,
applications were made to obtain the approval from the authorities by
their partner company Idea Workshop Sdn. Bhd. to conserve and
preserve the building.. After the application made was approved by the
authorities, conservation and preservation works started in December
2016. According to Hau (2017), the restoration works are scheduled to
be completed in a year’s time. Architect Hau also stated that the chapel
would most likely be converted into an event space to hold weddings,
talks and to be used as a restaurant or an art gallery. (Appendix 4)
Although the future of the building has not been finalized, formal
actions were finally being taken to conserve and preserve this
historically significant religious building.
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3.1.2 HISTORY OF THE SACRED HEART OF JESUS
The Sacred Heart Chapel is a chapel which was dedicated to the
Sacred Heart of Jesus. As such, it can be said that the building’s name
was derived from the Sacred Heart of Jesus. The devotion of the
Sacred Heart began in 1672 when Jesus had appeared to a visitation
nun, Saint Margaret Mary Alacoque in France. As he appeared, he
explained to the nun about the devotion of his Sacred Heart for the
people who believed in him to practise it.
The symbol of the Sacred Heart of Jesus includes a heart which is
encircled with a crown of thorns with flames shooting from the top and
also shining with divine light. The heart is pierced by the lance-wound
and surmounted by a cross and bleeding. (Figure 3.8) The Sacred
Heart actually represents the unmitigated love, compassion and long
suffering of Jesus towards humanity.
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Figure 3.8: Jesus and His Sacred Heart. (Source: Battle Heads,
2015)

3.2.1 LOCATION AND TOPOGRAPHY
The Sacred Heart Chapel is located at Lot 25, Jalan Tengkera, 75000
Melaka, Malaysia and its geographical location is 2°11'58.4" N
102°14'27.5" E. The building is located 1.1 kilometres from the
Sthadhuys (Diagram 3.1) and approximately 122 kilometres from Kuala
Lumpur, the capital city of Malaysia. (Diagram 3.2)
3.2 SITE CONTEXT 41
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Diagram 3.1: Location between the Sacred Heart Chapel and the
Sthadthuys. (Source: Google Maps, 2017)
Diagram 3.2: Location between the Sacred Heart Chapel and
Kuala Lumpur. (Source: Google Maps, 2017)

Generally, the topographic conditions of the area around the Sacred
Heart Chapel is flat, as the percentage of the slope is 0.53 %.
According to Diagram 3.3, the slope starts from the area located near
Hang Tuah Stadium and Jalan Kubu. From there, the gradient of the
slope decreases minimally in the South West direction (direction
towards the sea), covering the areas surrounding Jalan Ong Kim Wee
and Jalan Tengkera. The flat and wide conditions of a land allows the
community to access the place easily with the least effort. This allows
the community to gather easily at a specific location for social, political
or economic purposes. Hence, it means the users of the Sacred Heart
Chapel, which were the Catholic Portuguese-Eurasians and Catholics
of other races can access and use the building easily.
According to Chambless (2015), the construction ground provides
basic support for a building. As such, multiple considerations should be
made when designing a building on a piece of land. In the case of the
Sacred Heart Chapel, the plot of land which was given by the British to
construct the building was flat. Hence, minimal considerations were
made, and, as a result, the construction of the chapel could be
completed in a faster and easier manner. (Diagram 3.4)
3.2 SITE CONTEXT 42
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Diagram 3.3: Topographical conditions of the area around the
Sacred Heart Chapel. (Source: Contour Map Creator, 2017)
Diagram 3.4: Flat topographic condition of the area in which the
chapel is located. (Source: Huynh Minh, 2017)

3.2.2 LOCATION WITHIN MALACCA WORLD HERITAGE
SITE BUFFER ZONE
a) Introduction
According to AJM Planning and Urban Design Group (2011), Malacca
was officially recognized as a World Heritage Site by the UNESCO
World Heritage Committee in 7 July 2008. The World Heritage Site is
divided into two zones; the Core zone (45.3 hectares) and Buffer Zone
(242.8 hectares).
b) Core Zone
The Core Zone of the Malacca World Heritage Site comprises of two
major areas: The first is St. Paul's Hill Civic Zone which has a number
of government buildings, museums, churches, urban square and
original fortress town from the 16th century Portuguese and Dutch
Period. Second is The Historic Residential and Commercial Zone,
which has more than 600 shop houses, commercial and residential
buildings, religious buildings and tombs on four main streets.
c) Buffer Zone
The Buffer Zone comprises of zones located around the Core Zone
with the purpose to protect the Core Zone from any changes to the
building qualities and values. (Diagram 3.5) As one of the boundaries
of the Buffer Zone is Tengkera Police Station, and, as such, the Sacred
Heart Chapel is located within the Buffer Zone. This automatically
allows it to be included as one of the protected historical buildings that
needs to be restored to its original condition.
3.2 SITE CONTEXT 43
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Diagram 3.5: The Core and Buffer Zones of Malacca World Heritage Site. (Source: UNESCO World Heritage Centre, 2017)
3.2 SITE CONTEXT 44
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Today, Jalan Tengkera functions as a residential and commercial area.
(Figure 3.9) A few shophouses still serve as the residences of the local
Chinese community, and some shophouses were abandoned or not in
use for a long period of time, which explains their dilapidated state.
Parking lots are present along Jalan Tengkera and they were provided
by Majlis Bandaraya Bersejarah Melaka. (Figure 3.10) The parking lots
allow the owners, employees and customers of the surrounding
businesses to park their vehicles conveniently and access the shops.
At the end of the shophouses, a police station by the name of Balai
Polis Tengkera is present.
Moreover, a variety of businesses are present on both sides of Jalan
Tengkera where the chapel was located. (Diagram 3.6) The business
types are as follows:
3.2 SITE CONTEXT 45
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Figure 3.10: Parking lots situated in front of the chapel. (Source:
Teoh, 2017)
Figure 3.9: Shophouses located on both sides of Jalan Tengkera.

3.2 SITE CONTEXT 46
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Diagram 3.6: Existing services along Jalan Tengkera. (Source: Saw, 2017)

3.2.3 RELATIONSHIP OF BUILDING TO SURROUNDING
As mentioned before, the Sacred Heart Chapel is located along Jalan
Tengkera, a present day residential and commercial area consisting of
shophouses on both sides of the road. The shophouses that are
located along Jalan Tengkera consist of a variety of styles, which is
identifiable by the design of their facades. Today, the shophouses are
used to serve a variety of functions, such as business premises,
residential areas, clan associations and more. As such, to understand
the relationship of the Sacred Heart Chapel to its surroundings, one
must first understand the different styles of the surrounding
shophouses.
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Figure 3.11: Panoramic view of shophouses around the Sacred Heart Chapel. (Source: Kusumo, 2017)

b) Shophouse styles and year of construction
As indicated by K. S. Kamal (2008), the shophouses constructed in Malacca can be classified into at least 9 major styles depending on the design
of their facades and their construction period:
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c) Relationship of building to surroundings
After understanding the styles of the shophouses on both sides of
Jalan Tengkera, we can now analyse the relationship of the building
with its surroundings.
Based on Diagram 3.7, the 4 shophouses at the southeast direction of
the Sacred Heart Chapel are shophouses designed using the early
shophouse style. As such, it can be concluded that these shophouses
were constructed during the period of 1800 to the 1850s, which is
before the construction of the Sacred Heart Chapel.
Moreover, the 2 shophouses at the northwest direction of the chapel
were designed using the early transitional style. As such, in can be
concluded that these shophouses were constructed during the period
of 1840 – 1900s, which is before the construction of the Sacred Heart
Chapel.
3.2 SITE CONTEXT 50
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Diagram 3.7: Types of shophouses located along Jalan Tengkera. (Source:
Saw, 2017)

As the Sacred Heart Chapel was constructed after the completion of
the row of shophouses on both its sides, it can be concluded that the
physical characteristics of the chapel were affected by the physical
characteristics of the shophouses. Considerations were made during
the design stage of the chapel to allow it to fit perfectly into the
surrounding context. Hence, the chapel’s height is almost similar to the
surrounding shophouses. (Diagram 3.8)
Rather than overpowering the built environment around it, the Sacred
Heart Chapel respects the site context by maintaining the skyline of
Jalan Tengkera. The rhythm created by the shophouses’ roofline was
not interrupted, however, it was maintained as the chapel’s height was
designed to be almost similar to its surrounding. This results in a
consistent flow of skyline, and, as such, a sense of harmony was
created, which allows the Sacred Heart Chapel to relate to its context
in a humble and fashionable manner.
Diagram 3.8: The chapel has an almost identical height with the surrounding shophouses. (Source: Saw, 2017)
3.2 SITE CONTEXT 51
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4.1.1 ROMAN CATHOLICISM
The Sacred Heart Chapel was originally built to serve the Portuguese-
Eurasian community that settled along Jalan Tengkera (Tranquerah
Road). The decision to build a Catholic chapel along the road was not
only to serve the local community, but also to reduce the hassle of the
community to travel long distances to Saint Peter’s Church, as
mentioned in chapter 3.
The design of the church is simple and made to suit the basic
requirements of a religious building, and, in this case, a Roman
Catholic chapel.
According to Filbert (2011), in most Catholic churches, the holy water
fonts are placed near the entrance to allow the building’s occupants to
make the Sign of the Cross upon entering the building. Following this
concept, the holy water fonts in the Sacred Heart Chapel were placed
in front of two Tuscan columns in the narthex, facing the direction of
the entrances. (Figure 4.1)
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Figure 4.1: The holy water font situated in front of the Tuscan
column. (Source: Heng, 2017)

Diagram 4.1: Essential Roman Catholic elements and spaces provided within the chapel. (Source: Saw, 2017)
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A Catholic chapel would not be complete without the choir that aims to
create beautiful music to glorify God. As such, a choir was established
in the Sacred Heart Chapel to fulfil that need. However, what sets the
Sacred Heart Chapel different than other chapels is that a choir loft
was provided in the building to house the musicians during services.
This allows it to become the significant element of the chapel as it is
rare for chapels to feature choir lofts due to the lack of space within the
building.
Moreover, to allow chapel users to sit during the congregation, timber
church pews were provided in two rows on both sides of the nave.
Today, the church pews were dispersed all over Malacca Town.
(Appendix 4.)
A confession area was also provided in the chapel to allow the priest to
sit and hear the confessions of confessors. As such, confession
wooden panels were provided to act as a separation between the
priest and the penitents. The exact location of the confession areas is
the two rectangular-shaped openings at the façade before the
sanctuary. (Figure 4.2)
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Figure 4.2: The confession area as indicated by the highlighted
area. (Source: Singh, 2017)
Figure 4.3: The timber choir loft as seen from above. (Source:
Seow, 2017)

In addition to that, the pulpit was designed at the corner of the nave to
allow the priest to deliver sermons. The sacristy, a room that allows the
priest and his attendants to vest and prepare before the service, was
also provided at the back of the chapel.
Last but not least, the altar, a significant element of worship, was also
provided in the building to allow Roman Catholics to pray upon it.
(Figure 4.5) The altar was also designed to allow candles and offerings
to be placed during services and ceremonies.
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Figure 4.4: The pulpit in the chapel. (Source: Seow, 2017)Figure
Figure 4.5: The altar of the Sacred Heart Chapel. (Source: Seow,
2017)

4.1.2 PERSONAL EXPRESSION AND IDENTIFICATION
Till today, it remains a mystery as to who was the one responsible for
the construction of the chapel. It could possibly be the representatives
of the Bishop of Macau or the local Portuguese-Eurasian community.
Although it is difficult to justify as to why the chapel is a hybrid
architecture, it could be said that the simplicity of the chapel’s design
and the lack of the ornate ornamentations within the small confines of
the building may indicate that the building was designed by the local
Portuguese-Eurasians.
In the past, the houses constructed by the Portuguese-Eurasians were
simple structures which were made from timber and covered using
attap roofs. (Appendix 4). These structures were continued to be used
till the era of the British. As such, it is evident that an ethnic group as
young as the Portuguese-Eurasians may not have a rich history in
terms of the development of their architectural style, culture and
tradition. When the time came to a religious building that specifically
served their own ethnic group was built, the Portuguese-Eurasians
may have taken the opportunity to express themselves in the form of a
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simple chapel. (W. S. Hou, personal communication, 20th January
2017)
In addition to that, the Portuguese-Eurasians have always been a poor
community. (K. Tan, personal communication, 2017) As such, the
simplicity of the chapel’s design may reflect the economic conditions of
the surrounding Portuguese-Eurasians as they may have paid for the
construction of the chapel. The simplicity may also be due to the
scarcity of architectural traditions among the Portuguese-Eurasian
community.
Moreover, the application of a mixture of architectural elements in the
design of the chapel may be guided by the Portuguese-Eurasians’
intention to express their architectural creativity so that the masterpiece
is easily identified by the surrounding community.
Whatever the reasons are, the Sacred Heart Chapel fulfilled the needs
of the surrounding Roman Catholic community for as long as a century,
defining the history of the Portuguese-Eurasians as well as Jalan
Tengkera.
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4.1.3 FORM
a) Prisms
The Sacred Heart Chapel’s overall form is the result of the combination
between a triangular prism on top and a cuboid at the bottom.
(Diagram 4.2)
The triangular prism was formed by the timber king post roof trusses
when they are repeated along the width of the chapel from the front to
the back.
The form at the bottom, which is the cuboid, is bounded by the walls on
four sides. Although the form is simple, it serves as the main body of
the building and to allow multiple spaces to be organized in it to fulfil
their functions.
Besides these two major forms, two identical triangular prisms were
also found at the sides of the front façade. These prisms act as
pinnacles to increase the verticality of the building, contributing to the
elegance of the chapel’s design.
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Diagram 4.2: The combination of forms that shape the chapel’s
outlook. (Source: Saw, 2017)

b) Simple form
The adoption of 3 simple forms in the building’s design is mostly due to
the fact that it is a chapel, as it is defined as a smaller building used for
Catholic worship.
The simplicity in the chapel’s overall design may indicate that it was
designed and constructed by the local Portuguese-Eurasians as
mentioned earlier in this chapter. As the Portuguese-Eurasians did not
have a rich architectural tradition and lacked huge amount of funds due
to their poor economic status, a simple chapel design may be the only
choice of architecture they could afford at the time.
The simple cuboid design which functions as the main body of the
chapel was influenced by the shape of the plot of land given by the
British to construct the religious building in the 1860s. As the land
given by the British was in the form of a rectangle, a simple linear
rectangular plan was opted. (Diagram 4.3) Thus, by transforming the
simple 2-dimensional shape into a 3-dimensional form, a cuboid was
thus created.(Diagram 4.4)
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Diagram 4.3: The plan of the chapel was influenced
by the rectangular plot of land on which it was
constructed. (Source: Saw, 2017)
Diagram 4.4: The transformation of the chapel from a 2-
dimension plan into a 3-dimensional form. (Source:
Huynh Minh, 2017)

4.2.1 ORGANIZATION OF SPACES
a) Spatial organization
The spaces within the chapel are organized in a linear manner. The
spaces in the chapel start with the narthex, followed by the nave (with
the aisle in the centre), the sanctuary and lastly the sacristy. (Diagram
4.5) The linear arrangement of spaces allows a continuous movement
within the chapel in a sequential manner from the front door to the
sanctuary, optimizing the flow of the worshipers within the building. The
linear shape of the building’s plan also ensures that the vision of the
users is focused on the altar, ensuring that it becomes the focal point
of attention within the building.
4.2 SPATIAL ANALYSIS 61
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Diagram 4.5: The organization of spaces in
a linear sequence. (Source: Saw, 2017)

b) Relationship between function and space (Interior)
• Narthex
According to Encyclopaedia Britannica (2017), the narthex is an
architectural element of the church which was traditionally located at
the Western end of the nave. Its purpose was to act as a transitional
space and to separate the non-faithful from the general congregation.
A baptismal font is present at the narthex to allow infants as well as
adults to be baptised before entering into the nave.
In the case of the Sacred Heart Chapel, the narthex is located directly
after the entrance to function as a transitional space between the
exterior and the interior of the chapel. The space is defined by the
position of two Tuscan columns at its end as well as the timber choir
loft above it. (Figure 4.6)
Two holy water fonts are present in front of the Tuscan columns and
they were used to allow the chapel’s users to make the Sign of The
Cross before entering the chapel to attend services. The inclusion of
the holy water fonts at the narthex fulfils the need of the Roman
Catholic building to feature furniture which contains holy water.
4.2 SPATIAL ANALYSIS
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Figure 4.6: The narthex which is located under the choir loft
is indicated by the highlighted area. (Source: Teoh, 2017)
Figure 4.7: The donation box slot as seen on one of the Tuscan
columns. (Source: Seow, 2017)

• Nave
According to Carr (2016), a nave is the centre part of the church
building which was designed to accommodate most of the
congregation. Naves in traditional Western churches are rectangular in
shape and are separated from the adjacent aisles by the position of
pillars.
In the case of the Sacred Heart Chapel, the nave was designed using
a linear rectangular shape. (Figure 4.8) However, the chapel has only
one aisle situated in the middle of the nave. Although pillars are not
present in the building, there were once two rows of timber pews on
the left and right side of the nave which covers the majority of the floor
surface area, leaving the middle area empty to act as the aisle.
To occupy a large number of people at a single time during services,
the nave featured a long space with narrow width. The width of the
space was influenced by the limitations of the rectangular piece of land
given by the British to construct the building. Nonetheless, the narrow
width helps to limit the width of the worshippers’ view to the front,
allowing them to focus their attention to the altar in the sanctuary.
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Figure 4.9: The nave as seen from the sanctuary. (Source: Heng,
2017)
Figure 4.8: The nave is indicated by the highlighted area. (Source:
Singh, 2017)

The nave was designed to allow the worshippers to sit and hear the
preaching of the priest. As such, a pulpit was designed to be located at
the side of the nave to allow the preacher to deliver sermons. The
angle in which the preacher stands affects the acoustic performance of
the chapel. As such, the position of the pulpit beside the chapel’s left
wall encourages the preacher to speak at an angle that focuses
inwards, diagonally facing the congregation. This enhances the
acoustic performance within the chapel, allowing the worshippers to
hear the voice preacher loud and clear during services.
As the nave was designed to house a large number of people during
services, maximum comfort is a top priority to enhance the user’s
experience within the chapel. 3 louvered casement windows as well a
pointed arch door were provided at each side of the nave to provide
maximum ventilation and lighting for the chapel’s interior. (Figure 4.11)
Stained glass pieces were also placed above the louvered casement
windows to allow natural light to penetrate them and create a holy
atmosphere within the building.
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Figure 4.11: Light penetrating a window located at the side of the
nave. (Source: Teoh, 2017)
Figure 4.1.: Windows at the side of the nave. (Source: Heng, 2017)

• Sanctuary
The sanctuary is the place in a church where the altar is located. It
houses the element of worship and is regarded as a sacred area within
the church.
In the case of the Sacred Heart Chapel, the sanctuary is located after
the nave. (Figure 4.12) The altar which is located at the centre of the
sanctuary features a semicircular arched shape in the middle, with two
triangular pointed structures at both its sides. Besides functioning as a
holy place which houses the altar, the sanctuary is also the place
where the priests once sat to listen to the confessions of the penitents.
The confession area in the Sacred Heart Chapel is located at the
rectangular-shaped openings on the left and right of the semicircular
arched opening, whereby the confessors would kneel towards the
wooden confession panels and confess their sins to the priest sitting
behind the panels.
As the altar is located in the sanctuary, a great deal of effort was given
during the design stage to emphasize its holiness. Elements placed
inside as well as in the front of the sanctuary, such as the altar and the
semi-circular arched opening on the façade, were designed and
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Figure 4.13: The large scale of the semicircular arched opening
allows the sanctuary to be the point of focus no matter where one
stands. (Source: Saw, 2017)
Figure 4.12: The sanctuary is indicated by the highlighted area.
(Source: Saw, 2017)

constructed using a larger scale to allow the space to be the focal point
of attention. (Figure 4.13) The large scale of the elements captures the
attention of the chapel’s users as they were easily noticeable and had
a majestic outlook.
• Sacristy
According to Meehan (1912), the sacristy, by definition, is the room
where the priest and church attendants prepare and vest before the
service. It is also the venue where they return at the end of the service
to remove their vestments and to store the vessels used during the
service. Additionally, the altar linens as well as hangings are also
stored here. The sacristy is placed at the very end of the chapel as it is
a space used to store important relics of the chapel. (Figure 4.14) As
such, the space was made invisible to the public to safeguard the
properties of the chapel. Moreover, the secluded location of the
sacristy provides more privacy for its users and ensures that they are
able to work in a peaceful environment.
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Figure 4.14: The sacristy is indicated by the highlighted area.
(Source: Saw, 2017)

c) Relationship between function and space (Exterior)
• Side passageways
Side passageways are formed at the sides of the Sacred Heart Chapel
as the building was not built to share common party walls with its
neighbouring shophouses. Instead, it was designed to have a setback
from the party walls to allow the chapel to create its own personalised
space.
The side passageways form a connecting path between the front yard
and the backyard. (Figure 4.15) Moreover, the connection path formed
also links the pointed arch doors at the side of the chapel, allowing the
chapel’s users to access the chapel from the sides as well. In the past,
when the chapel was in use, the side walkways were used to allow the
congregation to move around the building.
As the walkways were used as circulation paths, their conditions were
ensured to be flat to allow users to experience a smooth flow of
movement from one point to another. Figure 4.15: The side passageway of the Sacred Heart Chapel.
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4.2.2 SPATIAL HIERARCHY
The Sacred Heart Chapel, like most churches, is built upon a
longitudinal axis and has similarities with the simple rectangular floor
plan of an Early Christian church, (Figure 4.16)
a) Public
The public areas of the chapel comprise of the front yard, narthex,
nave and the aisle in the centre of the nave, the passageways at the
side of the chapel as well as the backyard of the chapel. (Diagram 4.6)
The public spaces were designed to be concentrated near the main
access route, Jalan Tengkera, to allow them to be highly accessible
and visible. The nave and aisle are also public spaces which were
designed to house a high number of people during services. The high
concentration of users at the space encourages a high degree of
interaction among them, allowing the space to fulfil its function for the
public. The passageways at the side of the chapel as well as the
backyard are spaces which can be accessed by the public easily as
there are no physical boundaries to restrict their use of the spaces.
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Figure 4.16: The floor plan of a typical Early
Christian church (Source: Bible Artists, 2011.)

b) Semi-public
The semi-public space of the chapel includes the sanctuary. (Diagram
4.6)
The sanctuary, the space where the altar is located, is situated at the
end of the nave. A façade with a semicircular arched opening as well
as rectangular openings on both its sides separates the sanctuary from
the nave, allowing the sanctuary to have its own definitive boundary..
Although the altar is highly visible from all parts of the chapel, the
inclusion of the façade acts as a form of visual boundary.
In the past, when the chapel was in use, the spaces around the altar
were only accessible by the priest and the attendants.
The semi-public properties of the sanctuary were also characterised by
the position of the timber communion rails underneath the semicircular
arched opening when the chapel was still in use.
.
Diagram 4.6: Spatial hierarchy of the Sacred
Heart Chapel. (Source: Saw, 2017)
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c) Private
The private space within the chapel is the sacristy. (Diagram 4.6)
Situated at the very end of the chapel, the sacristy is only accessible
via the two semicircular arched openings at both sides of the altar as
well as the semicircular arched opening at the back of the room. The
space can be categorised as a private space as it located behind the
sanctuary and is bounded by walls at all sides with minimal openings.
Moreover, as the space is only accessible by authorised personnel of
the chapel, the general public cannot access the room.
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4.2.3 CIRCULATION TO USE SPACE
The circulation of the chapel is shaped by the linear organization of
spaces within the building. (Figure 4.7) Users can access the building
via the doors at the front of the chapel. Once they step into the
building, the linear organization of spaces directs users to walk from
the narthex to the nave and the sanctuary, allowing a continuous
movement in the building in a sequential manner. Openings within the
chapel also connect one space to another, allowing users to access
the spaces in a sequential manner. In addition to that, the stairs
available at the side of the pulpit as well as the timber choir loft also
allow users to access the structures which are located higher than
other structures within the chapel. A small flight of brick stairs was also
present beside the altar to allow the authorities of the chapel to climb
up and conduct maintenance works on the altar.
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Figure 4.7: Circulation of users in the chapel. (Source: Saw, 2017)

Besides the semi-circular arched doors at the front of the chapel
(Figure 4.17), the pointed arch doors at the sides of the chapel (Figure
4.18) and the semicircular arched door at the back of the sacristy
(Figure 4.19) connect the chapel to the exterior environments. These
openings are all connected by the side walkways of the chapel, which
start from the edge of the front yard leading all the way to the
backyard. On the exterior of the chapel, concrete pavements extend
from the front yard to the side walkways and ends at the centre of the
pointed arch doors.
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Figure 4.19: Door at the back of
the sacristy. (Source: Seow, 2017)
Figure 4.20: Front door. (Source:
Heng, 2017)
Figure 4.18: Side door. (Source: Heng,
2017)
Figure 4.17: Door beside altar as
seen from sacristy. (Source:
Seow, 2017)

4.3.1 BALANCE AND SYMMETRY
Symmetry is shown by the design of the front and back facades, the
façade before the sanctuary, the altar as well as the plan of the
building, whereby the left and right sides are symmetrically balanced.
(Diagram 4.8, 4.9, 4.10 and 4.11) By imagining a vertical axis on the
facades as well as the floor plan, it is evident that the composition
created is balanced as the type and amount of elements used as well
as their orientation is similar. This allows the composition to be
aesthetically and visually pleasing.
4.3 DESIGN PRINCIPLES 73
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Diagram 4.8: Symmetry shown by the front elevation of
the chapel. (Source: Saw, 2017)
Diagram 4.10: Symmetry of
the chapel’s floor plan,
(Source: Saw, 2017)
Diagram 4.9: Symmetry shown by the back elevation of
the chapel. (Source: Saw, 2017)
Diagram 4.11: Symmetry of the facade
before the sanctuary as shown by the
section. (Source: Saw, 2017)

4.3.2 REPETITION
Repetition is shown by the use of the shape of the altar. The shape of
the altar is first seen on a larger scale on the exterior façade, with the
pediment at the centre and the two pinnacles at the side. (Diagram
4.13)
The pediment as well as the belfry are repeated at the façade before
the sanctuary. The semicircular arched openings with two pinnacle-
shaped openings at the side are present on the façade. The elements
mimic the shape of the exterior façade.
The semicircular arched openings with two pinnacles on the side are
finally repeated on the altar’s design. In some Catholic churches the
shape of the altar is similar to the design of the church as the altar is a
significant element of worship within the building. (Appendix 4)
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4.3 DESIGN PRINCIPLES
Diagram 4.13: Repetition of elements is shown by the highlighted
areas. (Source: Saw, 2017)
Diagram 4.12: Repetition of elements is present on the 3
highlighted components of the chapel. (Source: Saw, 2017)

4.3.3 UNITY AND HARMONY
A sense of unity and harmony is evident throughout the chapel despite
the use of a variety of design elements. The architectural styles and
elements present within the building include the Iberian (Portuguese)
style, the Romanesque style as well as the Gothic style. The elements
which were combined together at specific areas were able to relate to
one another to create a unified whole.
Unity and harmony is best reflected at the front façade as the elements
of all 3 architectural styles are present here. Although the pointed arch
windows and the semicircular arched doors are designed using
different architectural styles, their placements close to one another
creates a harmonious feeling as they have identical characteristics in
terms of the openings’ shape and orientation. (Figure 4.22 and 4.21)
In addition to that, the stained glass pieces which form the tympanums
of the pointed arch windows and doors at both sides of the chapel
create visual harmony. Although different coloured glass pieces were
placed together to form the tympanums, their luminescent properties
and illuminative functions relate them to one another.
4.3 DESIGN PRINCIPLES 75
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Figure 4.22: Similar shapes of doors and windows of the front facade.
Figure 4.21: Luminescent properties of stained glass pieces. (Source:
Teoh, 2017)

4.4.1 OVERVIEW AND EXPLANATION
Till today, it remains a mystery as to who was the one who designed
the chapel. It could possibly be the Bishop of Macau, or the local
Portuguese-Eurasian community. As such, it is hard to explain the
reason behind the adoption of a hybrid of architectural styles in the
chapel’s design.
One possible explanation could be that the local Portuguese-Eurasian
community were trying to represent and to showcase their identity
through the design of the chapel. As the Portuguese-Eurasians of
Malacca did not have any significant architectural works to represent
their identity, the construction of the chapel may provide the perfect
opportunity for them to design a building that stands out among the
architecture of local communities. As such, the fusion of two or more
architectural styles may create an original and unique architectural
expression that solely belonged to the Portuguese-Eurasians of
Malacca.
4.4 DESIGN STYLES & ELEMENTS 76
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According to Mr. Keith Tan, a Taylor’s University architecture lecturer,
the fact that the Sacred Heart Chapel has a mixture of architectural
styles may indicate that it has been locally designed. As there were
hardly any recorded documents of the chapel, it is hard to determine
who was the designer or architect of the building. The chapel may not
necessarily be designed by architects at all, and there may also be a
possibility that it was designed by local artisans. The local artisans,
who may not receive any formal architectural education, may use a
mixture of architectural styles and elements they find interesting to
decorate the exterior and interior of the chapel.
Nonetheless, as simple as the chapel may be, there are quite a few
architectural styles and elements that can be found within the building,
notably the Iberian influence, the Romanesque style, the Gothic style
and many more.
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4.4.2 IBERIAN STYLE
Firstly, the Iberian architectural style is evident in terms of the chapel’s
façade treatment. According to Borschberg (2004), Iberian architecture
refers to the architectural styles which can be found in the Iberian
Peninsula, which consists mostly of Portugal and Spain. However, in
the case of the Sacred Heart Chapel, our research will focus solely on
the Portuguese architectural influence on the chapel’s design.
The front façade of the chapel consists of 3 colonnaded tiers, in which
the ground floor contains 3 similar semicircular arched doors and the
first floor contains 3 similar pointed arched windows. (Diagram 4.14)
The pediment, which can also be found in some Portuguese churches,
crowns the chapel. A pediment is defined as a triangular space formed
by the raking cornices (sloping sides) and horizontal cornice of a
gabled structure.
A belfry is also situated in the middle of the pediment. Poole (1907)
stated that a belfry is a structure which encloses the bell chamber, the
room in which the bells are housed, and its walls are pierced by
openings which allow the sound to escape.
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Diagram 4.14: The front facade of the Sacred Heart Chapel.
(Source: Measured Drawing Team Sacred Heart Chapel, 2017)

Lastly, the IHS monogram is located at the apex of the pediment,
symbolising that the building is a Roman Catholic chapel. Gothic
pinnacles can also be seen at both sides of the pediment.
Such a phenomena is evident in Portuguese colonial architecture on a
bigger scale, such as the Basilica of Bom Jesus in Goa and the Ruins
of Saint Paul’s Church in Macau. In the case of the Basilica of Bom
Jesus in Goa, India, the front façade of the basilica consists of 3
colonnaded tiers. (Diagram 4.15) The ground floor consists of 3
elegant entrance gates. The first floor consists of 3 windows matching
to the three gates of the ground floor and the second floor consists of 3
spherical windows. The fourth segment, also crowns the chapel with an
extravagant quadrangle decorated with arabesque art, however, unlike
the Sacred Heart Chapel, the pediment consists of a combination of
the Renaissance architectural style and the Baroque style. The IHS
monogram is present in the middle of quadrangle segment and ornate
decorations were used to decorate the monogram. Stout pinnacles
were also used to decorate the pediment, two of which are located at
both sides of the pediment and five of which were used to decorate the
triangular-shaped pediment.
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Diagram 4.15: The front facade of the Basilica of Bom Jesus.
(Source: Divakaran, 2005)

In the case of another Portuguese colonial architecture, which is the
Ruins of Saint Paul’s Church in Macau, the Baroque-styled façade
consists of a five-tiered structure. (Diagram 4.16) The first tier
comprises ten ionic columns with 3 entrances. The “MATER DEI” is
carved on the lintel of the front door and two other entrances on each
side are decorated with the HIS monogram. The second tier consists
of ten Corinthian columns with three windows. The third tier, however,
shows the “Virgin Holy Days” scene with a statue of Madonna in the
middle. On the fourth tier, a stone figure of Jesus is present. Finally,
the fifth tier features a pediment.
Both these Portuguese colonial architecture were designed using a
larger scale as well with more elaborate decorations.
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Diagram 4.16: The front facade of the Ruins of Saint Paul’s
Church, Macau. (Source: Macao Arts Festival, 2011)

4.4.3 GOTHIC STYLE
Gothic architectural elements are present in the chapel through the use
of pointed arched windows and doors. Timber pointed arched window
frames were used to design the windows at the front façade as well as
the side walls.
Moreover, trefoils, which are present at the tympanum of the pointed
arched windows, are also present at the chapel’s front façade as a
symbol for the Holy Trinity. (Figure 4.23) According to LaChiusa, “foil”
means “leaf” in French. As the number of foils is indicated by a prefix,
trefoil means “three leaves”. Chuck (2002) states that foil motifs may
be used as part of the heads and tracery of window lights, complete
windows themselves, the underside of arches, in heraldry, within
panelling, and as part of any decorative or ornamental devices.
Besides being a symbol of the Holy Trinity, LaChiusa (2002) also
claims that the trefoil is a symbol of perpetuity, with the three leaves
representing the past, present and future. It is also sometimes a
symbol of fertility and abundance.
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Figure 4.23: Pointed arch louvered casement windows at the
front facade of the chapel. (Source: Teoh, 2017)

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